FOR EDITORS, PROOFREADERS AND WRITERS

In this episode of The Editing Podcast, Louise Harnby and Denise Cowle talk to author David Unger about transforming a novel from print to audio.

​Listen to find out more about

• Doing your own narration vs hiring a pro
• How to find a professional voice artist
• Which qualities are important
• The process of working with a professional narrator
• Obstacles to creating audio books
• Costs and time frame

Here's where you can find out more about David Unger's books.

Dig into these related resources

• Author resources
• Book: Editing Fiction at Sentence Level
• The Editing Podcast: 6 ways to use audio for book promotion
• ​Booklet: How to narrate your own audio book
• Podcast episodes: The indie author collection
• Blog post: Why editors and proofreaders should be using audio
• Blog post: 5 ways to use audio for book marketing and reader engagement
• Blog post: How to go mobile with audio: Book-editor podcasting on the go

Music Credit
‘Vivacity’ Kevin MacLeod (incompetech.com). Licensed under Creative Commons: By Attribution 3.0 License. http://creativecommons.org/licenses/by/3.0/​

Is your editing or proofreading business new? Here are two mindset tips that will help you frame every action you take in terms of multiple goals, and stay positive while you’re waiting for the fruits of your labour to ripen.

Linear vs holistic thinking: Beyond the to-do list
I love a list! Recording the stuff I need to do helps me organize my thoughts. It also steers me away from procrastination and towards action.

What follows is therefore by no means a call for the abandonment of the to-do list. New starters and old hands alike can benefit from a list of actionable points.

Caution is required though. The to-do list does have the potential to encourage linear thinking, and this can be a hindrance when it comes to the business of editing and proofreading.

Linear thinking can lead us down a road of focusing too heavily on one part of our business in the belief that if we get X just right, everything else will fall into place, or that X is more important than Y and therefore must be completed in full before Y is considered.

Holistic thinking, however, recognizes that X impacts on Y, which impacts on Z, and that – together – X, Y and Z drive success.

Let’s look at what this means for our business practices.

A simplified example
Shami is in the process of setting up an editing business. She’s completed a comprehensive training course followed by mentoring. She’s confident in her skills and believes she’s fit for purpose. And she is – from a technical point of view.

However, there’s a potential problem. She’s been so focused on her training that she’s not spent any time considering how she’ll make herself visible to paying clients.

Training was at the top of her list – and while this is certainly no bad thing to be at the top of any freelance business owner’s list, focusing on it alone won’t bring in paying work.

Shami's business to-do list
Shami’s to-do list looks like this:

​Shami could do one thing at a time, and tick all those jobs off as she goes. But might she benefit from looking at her editing business in a different way?
​
An alternative view: The business wheel
What if, instead, Shami visualized her business as a wheel rather than a list?

The list and the wheel address the same issues, but the wheel helps Shami to visualize her business holistically; it shows her the interconnectedness of the various elements.

Let’s consider her training in relation to other aspects of business development.

Other ways to use the business-wheel mindset
I could go on, but you get the point. Training isn’t something you do before marketing. Rather, it’s connected to marketing. They are but two spokes on a wheel, and they link the hub (the business) to the rim (clients and colleagues).

Training gives substance to the marketing message. Marketing generates visibility and, therefore, new clients. New clients become regular clients because of the standards embedded by training. And up and down the spokes and round the rim we go.
​
We might carry out a similar exercise when considering the links between pricing, an accounting schedule and stationery; or resource creation and business promotion; or brand awareness, accounting and stationery.

Taking the long view
Developing a successful editing business doesn’t happen overnight. No matter how good our skills, how creative our marketing, how professional our practice, it takes time.
​

• Time to rank in the search engines
• Time to become so discoverable that we’re never without work offers
• Time to build a wait-list
• Time to fill that wait-list with people who trust our skills and judgment, return to us time and again, and pay our price

And, even then, we can’t sit on our heels because our industry, broad as it is, is always changing.

• The technical skills our clients wanted five years ago might not be what they want next year
• The fees our clients were paying five years ago may not be what they’re paying this year (we might even be worse off in real terms).
• The types of clients hiring us five years ago might have become more varied (consider the expansion of the self-publishing market over the years).
• The software or hardware we used five years ago might no longer be fit for the purpose or compatible with what our current potential clients are using and expect us to use.
• Two companies we worked for five years ago might merge tomorrow; or one might acquire the another. This could reduce the number of editorial freelancers hired, and we could end up on the cut list.
• The publisher we work with directly today might outsource its proofreading and editing to a packager in two years’ time. That could affect the rate we’re paid and the security of our freelancing relationship.

Moving from entitlement to investment
This means that, as business owners, we need to be keeping our ear to the ground so that change is something we embrace, not resent, and something we view as providing opportunity, not marginalization.

When we own our own businesses, we don’t have the luxury of spending time on blaming a lack of success on others who are now doing things in ways that don’t suit us.

When we own our own businesses, we’re not entitled to be paid X by a publisher whose profit margins are being squeezed its own customers. Nor are we entitled to work on paper because that’s the way we prefer it. For example, most independent authors want us to work in Word or on PDF.

Instead, we have to invest in what makes us interesting and discoverable to those we want to work for and who will pay us what we want/need to earn if our businesses are to be profitable.

Whether that means acquiring new skills, learning how to use new tools, changing the way we do our tax returns, targeting new client types, replacing old equipment, or testing and evaluating new and innovative marketing activities that increase customer engagement, the responsibility lies with us, and us alone.

Time and hard work are part of the deal
We might not see the fruits of our labour for months. None of us can say how long it will take for an individual’s marketing strategy to put them on pages 1–3 of Google. And that’s okay. It’s normal for it not to happen overnight.

None of us can predict whether a favourite publisher client will merge with another press and freeze its freelance rates.

None of us can know whether the skill we learned in 2008 will still be relevant in 2025. When I first started proofreading back in 2006, I was working almost exclusively on paper. At the time of writing in 2020, I edit exclusively in Word.

What we can be sure of is that there are no shortcuts – building an editorial business takes time, effort, and not a little courage because there will be times when we’re pushed out of our comfort zone.

Taking the short view leads to disappointment, frustration and stagnancy:

• Disappointment that the creation of a website alone didn’t generate fifty new leads a month
• Frustration because the client we’ve worked for solidly for six years is now squeezing 200 additional words on a page but still paying us for the same page rate
• Stagnancy because we didn’t keep up to date with new developments and are no longer able to compete with colleagues who are providing a service that we consider unusual but that they consider run-of-the-mill

Embracing that longer timeframe means we’re less likely to feel deflated when our hard work doesn’t give us immediate results. Instead we could do the following:

• Commit to tracking our webpage metrics and thinking of ways to more ideal clients to our site
• Work regularly on finding new clients so we feel comfortable with ditching the word-count squeezer
• Make technical skills development a part of normal business practice

Summing up
If you’re the type of person who’s capable of looking at a list without feeling compelled to move through it only from top to bottom, go for it. List away!

However, if you think that your to-do list is leading you into a mode of thinking that ignores the connections between the various aspects of running your business, try redrawing it as a wheel.

It may be just the ticket to seeing your editing or proofreading business in a whole new interconnected light – and focusing your energy accordingly.

And it's okay to set a realistic time frame for getting your editorial business to where you want it to be. The hard work we put in at the beginning doesn’t necessarily generate immediate results. Taking the long view means we give our efforts space to breathe.
​
[An older version of this article first appeared on An American Editor.]

In this episode of The Editing Podcast, Louise and Denise talk to Barry Award-nominated thriller writer John A. Connell about moving from Berkley (Penguin USA) to independent publishing.

Click to listen to Season 4, Episode 12

• RATE AND REVIEW

Listen to find out more about:

• Being a Hollywood camera operator ... Jurassic Park, Thelma and Louise, and NYPD Blue
• Getting a publishing contract with a major press
• The Mason Collins series
• When publishers are no longer invested
• Moving to independent publishing
• Clawing back book rights
• Using movie experience to craft a novel's scene
• Beyond writing: what indie publishers need to do
• Challenges and benefits of indie publishing
• Being edited
• Useful organizations
• Writing a series versus standalone novels
• Future projects

Top tips From John

• Build a mailing list
• Offer a free short story or novella
• Develop a series
• Use Facebook ads
• Craft a great website
• Engage with your audience
• Get your business head on
• Invest in appropriate editing

Contact John A. Connell
Subscribe to John's newsletter and get a free book:

• Website: John A Connell: Gripping Thrillers With a Historical Twist
• Email: [email protected]
• Facebook author page
• John's books on Amazon US and UK

Editing bites

• Stephen King (video): Masterclass, University of Massachusetts Lowell, 2012
• Joanna Penn: Video marketing for authors
• Mark Dawson's Self-Publishing Formula
• International Thriller Writers
• Mystery Writers of America
• Mark Dawson's Self-Publishing Formula

​​
Ask us a question
The easiest way to ping us a question is via Facebook Messenger: Visit the podcast's Facebook page and click on the SEND MESSAGE button.

Music credit
‘Vivacity’ Kevin MacLeod (incompetech.com). Licensed under Creative Commons: By Attribution 3.0 License.

In this episode of The Editing Podcast, Denise and Louise discuss the growth of audio in the book world, and how using sound creates reader engagement and helps build a fan base.

Click to listen to Season 4, Episode 9

Listen to find out more about:

• Narrating a sample chapter
• Creating free audio content that's usable
• Host a live sound event
• Broadcast an interview
• Encouraging sign-ups with your voice
• Starting a podcast
• Captivate: podcast hosting, stats and audience growth

Editing bites and other resources

• Write to be Published, Nicola Morgan, Snowbooks, 2011
• Twitter chat #indieauthorchat hosted by Tim Lewis
• Captivate
• Libsyn
• Soundcloud
• Music Visualisation Video Creator
• Audio-book Production (free booklet)
• ‘How to turn YouTube subtitles into blog posts and transcripts’ (blog post and video tutorial)
• Cleanfeed
• Zoom

Music credit
‘Vivacity’ Kevin MacLeod (incompetech.com). Licensed under Creative Commons: By Attribution 3.0 License.

In this episode of The Editing Podcast, Louise and Denise chat about 18 blogs for authors and editors that offer guidance on various aspects of writing craft.

Click to listen to Season 4, Episode 7

Listen to find out more about:

• ALLi blog: Alliance of Independent Authors
• Ann Handley blog
• Articles: The Writer’s Digest
• Articles: Tim Storm, Storm Writing School
• Bacon Editing blog: Claire Bacon
• Bookbaby blog
• Clarity: Lisa Poisso, Editor and Book Coach
• Denise Cowle Editorial Services blog: Denise Cowle
• Helping Writers become Authors: KM Weiland
• Jane Friedman blog
• LibroEditing blog: Liz Dexter
• Liminal Pages blog: Sophie Playle, Fiction Editor
• The Creative Penn blog: Joanna Penn
• The Editor’s Blog: Beth Hill
• The Itch of Writing: Emma Darwin
• The Editing Blog: Louise Harnby, Fiction Editor
• The Radical Copyeditor blog: Alex Kapitan
• The Subversive Copyeditor blog: Carol Saller

Editing bites and other resources

• ​Cult Pens
• Stein on Writing, by Sol Stein, Non Basic Stock Line, 2007

​
Music credit
‘Vivacity’ Kevin MacLeod (incompetech.com). Licensed under Creative Commons: By Attribution 3.0 License.

In this episode of The Editing Podcast, Louise and Denise talk to technical writer and editor John Espirian about content marketing, editing and bringing a book to market.

​Click to listen to Season 4, Episode 3

Listen to find out more about:

• Content DNA - the book
• Developing the book's concept: The shape of you
• Writing the book
• Tackling the editing process
• Cover design and branding
• The benefits of a foreword
• Content marketing, and why it works
• Social media focus and email-list building
• Pricing, marketing and sales
• Creating an audio book
• Finding an audience to use as a springboard for business books
• Building a personal brand that acts as a buffer
• Targeting clients' problems and offering solutions
• What is technical writing?
• Who uses technical writers?

Contacting John Espirian

• Website
• Content DNA
• LinkedIn
• Twitter
• Blog

Editing bites and other resources

• AgentQuery.com
• The Tao of Twitter, by Mark Schaefer
• KNOWN, by Mark Schaefer
• Chartered Institute of Editing and Proofreading (CIEP)
• Col Gray, graphic design and brand design: pixels ink; YouTube​

Music credit
‘Vivacity’ Kevin MacLeod (incompetech.com). Licensed under Creative Commons: By Attribution 3.0 License.

In this episode of The Editing Podcast, Denise and Louise talk to Jen Hamilton-Emery, co-director of Salt, one of the UK's premier independent literary publishers.

​Click to listen to Season 2, Episode 8

Summary
Listen to find out more about:

• The Salt story: awards, authors and publishing goals
• Author retention
• Indie publishing and the digital revolution
• The submission process
• The author–publisher relationship
• The publishing process
• Rights, sales and royalties
• Print runs
• Resources for authors

Find out more

• Visit the Salt website

Editing bites

• Typographic Style Handbook: A Guide to Typography by Michael Mitchell and Susan Wightman
• Understanding Show, Don’t Tell by Janice Hardy

Music credit
‘Vivacity’ Kevin MacLeod (incompetech.com). Licensed under Creative Commons: By Attribution 3.0 License.

​This tutorial shows you a fast and free method to turn your video’s subtitles/closed captions into text that can be repurposed for blog posts and DIY transcripts.

There are 2 reasons you might want to do this:

1. To generate keyword juice for SEO purposes
2. To respect customer/client preferences

Using the subtitles files in your existing videos means you can create content in a written format without starting from scratch.

That saves you precious time, allowing you to focus your attention on creating words (if you’re an author) and amending them (if you’re a proofreader or editor).

​Watch the video or use the written instructions below.

​Instructions

• Find your video on YouTube.
• Click on the three dots underneath the video on the right-hand side.

• A new window will open.
• Click on 'Open transcript'.

• The transcript window will open. 
• Click on the three dots in the upper ribbon.

• Click on 'Toggle timestamps'.​

• Note how the timestamps have disappeared.
• Click your cursor at the beginning of the text and drag to the bottom of the transcript.
• Copy the selected text (Ctrl C in Windows; Cmd C in iOS).

• Paste your text into a Word document.

• Now it's time to remove the extraneous paragraph returns using Word’s FIND/REPLACE tool.
• Place the following string into the FIND WHAT field: ^p
• In the REPLACE WITH field, type a space.
• Click on the REPLACE ALL button.

Your subtitles file now looks like this:

Edit your text to ensure the spelling and grammar are correct, and tweak the writing so that it meets your audience's expectations of written content.

If you're creating a blog post, introduce paragraphs, bullet points, headings and any supporting imagery.
​
Generating keyword juice for SEO purposes
Video is compelling. It allows our audience to see our faces and hear our voices. That intimacy can be compelling, and it’s a fast-track to building trust. That’s important for authors seeking to build a readership, and editors wanting to attract clients who need editing help.

However, there are no keywords in a video. Yes, YouTube is a search engine in its own right, but it’s not the first point of search for every member of our audience.

​By repurposing video as blog content, we’re increasing our chances of being found in the likes of Google and Bing too.

Being findable on multiple platforms makes sense in an online world that’s becoming noisier by the minute.

Respecting customer/client preferences
Not everyone wants to watch video, and even if they do, it’s not always the most convenient option. Imagine the following scenarios:

Our reader’s broadband speed is slow
A blog post will load faster than a video on those occasions that the internet seems to be creaking at the seams.

If we’ve solved a reader’s problem in our videos, but they can’t play those videos, they could become frustrated and go elsewhere. If we’ve offered a written alternative, we’re more likely to keep them on our websites.

Video is difficult to scan
Written content is easy to scan and digest quickly. That makes it attractive to busy people. If our visitors can’t work out whether we’ve solved their problem without watching a video in its entirety, we might lose them.

When we provide written content as well, we can quickly show them what’s on offer with headings and bullet points. Our readers can scan this information and decide whether to dig deeper.

Blog posts can be printed
Some people still like to print useful content so that they’re not reliant on digital means to access it. A video can’t be printed; a blog post can. Again, it’s about respecting what’s convenient for our readers, rather than focusing on our own preferences.

Other options
What I’ve offered here is a DIY solution for authors and editors who need to keep an eye on the purse strings when they're repurposing vlog content.

It’s the method I use when I’m starting with a video rather than a blog post. Plus, I rather enjoy the process. However, it’s not everyone’s bag.

If you have the budget, you can commission a professional transcriptionist or content repurposer. They’ll have the tools and expertise to create top-quality written content from video that fits your brand and voice.

Summing up
Editors and authors who are creating valuable content to make their books and editorial services visible can repurpose it in multiple ways. No one method trumps another – audio, video and words all have their place.

However, our audiences will have different preferences. What’s convenient today might not work tomorrow. Repurposing content allows us to respect those preferences.

The trick is to find shortcuts to that repurposing so that we’re not starting from scratch each time. This is one of them.

Acknowledgement
Thanks to JavaScript Nuggets for sharing this new and improved method of accessing transcript text. Much appreciated!

Related resources

• The Author's Proofreading Companion
• How to edit YouTube subtitles/captions free and fast in MS Word
• Self-editing your fiction in Word: How to import styles
• Self-editing your fiction in Word: How to use styles
• Blogging for Business Growth (online course for editors and proofreaders)

So should you include a podcast transcript? And if you do, should you edit it? Here’s my take.

Writers don’t just listen to podcasts; they create them as part of their author-platform mix. Not all podcasters include transcripts (though I think they’re a good idea) and not all transcripts are created equally.

Some are rough and raw, some are smoothed, and some are edited to within an inch of their life so that they read more like blog posts.
​
What is a podcast transcript and why should you have one?
A podcast transcript is a written version of your audio file.
 
Many people glance at a transcript before they listen to a podcast because they want to know what the key discussion points are.
 
Skim reading allows us to digest large chunks of written content quickly. We get to pick and choose what to ignore and what to focus on. Skimming isn’t about deep comprehension but about getting a feel for what’s on offer.
 
People are busy. Podcasts are great because the audience can consume the content while doing other things. That’s great if the listening takes place on the school run or the dog walk.
 
However, that won’t be the choice for all your book-buying audience. Some will want to engage with your podcast, and only your podcast. Those listeners need to know whether you’re worth their time. We can’t skim a podcast (or a vlog) but we can skim a transcript.
 
The transcript is therefore more than a written record. It’s also the key that unlocks the audio engagement door.
 
Given that it’s a representation of what’s said in the podcast, should you edit it?
 
A better question is, what are the consequences if you don’t? Here are four.

​1. Eyes before ears – visible content counts
If your listener is already fan, a sloppy transcript is unlikely to put them off because they probably won’t even read it – they’re there for you and your audio. But if they’re new, and deciding whether to commit to listening, the written word might well determine whether they leap on board or jump ship.
 
If the first thing someone comes across on the podcast landing page looks and reads like a dog’s dinner, what does that say about the likely quality of the audio content?
 
In reality, the audio content might well be outstanding, but the podcaster isn’t judged on that until the audience has decided to hit Play. It’s the visible content on the page that counts.

2. But it’s all about the audio, isn’t it?
Imagine you’re doing a presentation to a roomful of your author peers. You build your presentation around the problems you’re trying to solve for your audience, create a great slide deck, and rehearse like billy-o so that you’re on top form.
 
On the day of the speaking engagement you turn up ahead of time so that you can check that all your equipment and supporting materials are fit for purpose. Before you go on stage you do some breathing exercises to relax your throat – you want your voice to be clear and engaging for your listeners.
 
You look the part. You sound the part. And you’re a writer in a roomful of writers. That’s all that matters, right? After all, it’s a face-to-face speaking engagement.
 
The problem is, you haven’t brushed your teeth for three weeks and your breath honks. If you were one of those presenters that likes to be front and centre, the first row would be in trouble. But you’re a walker. You like to engage with your audience – a little bit of up close and personal.
 
It’s not the first row that's in trouble. The whole room is at the mercy of your Wookie mouth. Shame, because no one’s interested in your stunning insights, your top tips for how to overcome writer’s block, fact check, or edit the first draft, never mind that what you tell them could make their lives a hundred times easier. All anyone’s thinking is Stay back.
 
A sloppy podcast transcript is like bad breath. It focuses your potential audience’s attention on the wrong thing and risks putting them off before the audio fun’s even begun.

3. Standing out
Podcasts are increasingly popular tools used by business owners, marketers, writers and hobbyists to communicate with their clients, fans and friends. And a lot of podcast transcriptions are sloppy. All the effort, and the budget, goes into creating great audio.
 
In ‘How to build a web presence that outsmarts, outperforms and outlasts the search engines’ (Summit on Content Marketing 2017), Stoney deGeyter talks at some length about being excellent in everything we do so that we’re not battling with search-engine algorithms and rankings. He advises focusing on extraordinary engagement that makes our audience/customer journey as easy as possible.
 
Good advice indeed. So why not stand out and create a top-notch podcast transcription?

• Be the one who sets the bar.
• Be the one whose transcript is as standout as the audio file so that you keep your visitors happy whether they’re skimming the script or tuning in.
• Be the one who decides that it doesn’t matter what content’s being engaged with – the page title, the audio, the thumbnail image, the resources or the transcript. It’s all good, all consumable, all engaging.
• Be the one who embraces audiences with different abilities – not only those with visual impairments, but also those with hearing loss. My colleague Debbie pointed out that cochlear implants only go so far.

 
That way you give people nothing to complain about and everything to rave about. Word of mouth is more likely to kick in. And with it, audience growth, engagement, advocacy and book sales.
 
Certainly, some people won’t care if your transcript is a mess. It’s not them you have to worry about though. It’s about those who do care, those who judge you negatively because they think you don’t give a damn. Which leads us to the biggie.

4. Wordy people need to do wordy well
You’re a writer. Given that your podcast is part of your author platform, the last thing you want to do is give anyone the impression that your writing is poor, even if you’re using audio as an engagement tool.
 
If a famous chef was promoting her new recipe book in my local Waterstones and the canapes made me want to hurl, certainly I’m not going to buy her book. But, much worse, I’m not going to book a table at her restaurant.
 
The biggest problem for the author with a sloppy transcript is not that no one will listen to the podcast but that no one will buy her books.

How much should you edit?
It’s your choice but bear in mind that the goal is to encourage the listener to engage with the audio and buy your books. The podcasting author has to strike a comfortable balance between rigorous word-for-word accuracy and readability. Here are some guidelines:

• If it doesn’t aid comprehension, consider removing it. Examples include extraneous ums, ahs and stutters.
• Consider your author brand. If you think that under-editing will impact negatively on your writing ability, you might bend towards heavy smoothing of the transcript so that it reads more like a blog post.
• Correct all non-standard spelling (without disrespecting idiom and dialect, of course). People don’t spell incorrectly when they speak.
• Correct spoken non-standard grammar if its makes the transcript difficult to understand. Speech is often less formal than the written word – we speak in ways we might not dream of writing – but readability should trump slavish adherence to spoken accuracy. This isn’t an exercise in qualitative research methods or oral history. It’s about engagement, trust and communication.
• Introduce standard punctuation and other speech cues to aid readability. In speech, we start, stop, pause, emphasize, and interject with laughter, sighs, harrumphs and so on. Use ellipses (…) for pauses and trailing sentences, italic for emphasis, em dashes (—) for end-of-sentence interruptions, and en dashes (–) for parenthetical sentence fragments. Square-bracketed cues are perfect for oral interjections [groans] [laughs].
• Ensure the transcript reflects what was said, not what you or the transcriber thought was said. If the transcription was created by a third party, they might have made a best guess and introduced errors because the audio was unclear. If you’re unsure what was said (if you were talking to someone else in the podcast), consider a pro transcription trick – place a question mark each side of the queried word (?unnecessary?). Or ask the interviewee.
• If you’ve interviewed someone in your podcast, consider offering them the opportunity to review the transcript before it’s published. There are pros and cons. On the one hand, any misrepresentation will be corrected. On the other, the interviewee might want to use the opportunity to artificially clean up the record, which could spoil the rhythm of the interview.

Ideas for you to steal
Even if you don’t include a transcript, consider the following:

• Include an abstract that summarizes the overarching theme of the episode and some information about the speaker(s).

• Create a bulleted list of the key themes addressed in the podcast.
• Add time stamps so that listeners can hop straight to the content that’s important to them.
• If there’s more than one person speaking, indicate who’s speaking in the transcript.
• Provide a summary of related episodes so that your listeners can binge listen.

If you decide to hire someone to create and edit your transcript for you, take a look at this article from my copywriter pal Gudrun Lauret: Why Not to Use Cheap Transcription Services.

And here's a cautionary note that Tim Lewis posted on my Facebook page: 'Honestly, transcripts are a right PIA but you are right: they are well worth doing. 
Something for amateur podcasters to be careful with is that many automated transcription services such as Trint (and the free services) really struggle with anything that isn’t a standard US or UK accent, and if they don’t get to pretty high accuracy you will spend longer fixing it than the length of the interview. I use rev.com which is human-based (but more expensive). Even that’s not perfect though.'

Here are some examples of what others are doing:
 
Tim Lewis, Begin Self-Publishing Podcast
Tim’s transcripts are gently smoothed to aid readability, indicate who’s speaking, and include a brief content summary. He increases visual engagement by introducing eye-catching quotes from the show. Here’s an example from the episode I did with him on fiction editing.

Julie Anne Eason, The Successful Author Podcast
​Julie Anne doesn’t include transcripts but she does provide detailed overviews of each episode’s content, additional related resources, eye-catching quotes from the show, and a bullet list of key themes.

​​Wesley Chu, Piper J. Drake, Mary Robinette Kowal, Mary Anne Mohanraj, Brandon Sanderson, Howard Tayler, Dan Wells, Writing Excuses
The hosts have an index of smoothed transcripts available in a separate menu. They offer a summary of the show, a pick-of-the-week related resource and a writing prompt (mini homework!), and subject tags so listeners can access related content (a really neat and useful addition that’s common on blogs and works very well in this setting too).

I'll be digging deeper into author podcasting in a forthcoming blog. I hope you'll join me for that!

Louise Harnby is a fiction copyeditor and proofreader who specializes in helping self-publishing writers prepare their novels for market.
​
She is the author of several books on business planning and marketing for editors, and runs online courses from within the Craft Your Editorial Fingerprint series. She is also an Advanced Professional Member of the Society for Editors and Proofreaders. Louise loves books, coffee and craft gin, though not always in that order.

​Visit her business website at Louise Harnby | Proofreader & Copyeditor, say hello on Twitter at @LouiseHarnby, or connect via Facebook and LinkedIn.

If you're an author, take a look at Louise’s Writing Library and access her latest self-publishing resources, all of which are free and available instantly.

Here are 5 ways to use audio to promote your book and create engagement with your readers.

This post featured in Joel Friedlander's Carnival of the Indies #88

‘Listening is active. At its most basic level, it’s about focus, paying attention.’ Simon Sinek​

Does sound still engage? It does – audiences still absolutely love sound because they can do something else at the same time. Food for the time-hungry! 

I’ve deliberately not included audio books or podcasting. They’re both valuable ways of delivering your book and the story of your publishing journey, but need scaled-up levels of expertise, planning, equipment, time and money.

I’ve also excluded options that involve video – we’ll look at them in other dedicated resources (e.g. video book trailers, and online video launches). Today is all about sound!

​1. Narrate your own sample chapter
Narrating a chapter of your book is a lovely way to offer your fans the personal touch – for no other reason than they get to hear your voice. It’s a phonic version of Amazon’s ‘Look Inside’!

And it’s a totally different kettle of fish from a full audio book …

In Audio Book Production: A Primer for Indie Authors from an Audio-Book Producer, Ray Greenley, a professional voice narrator, explains how easy it isn’t to create a high-quality audio book yourself – one that’s fit for market and done to the highest standards. The equipment, the noise dampening, the time, the fluency, the editing – the author who takes on all of that has a will of iron and more than just a talent for writing. Narrating is, after all, a very different skill to writing.

With a sample chapter, though, you don’t need to worry about any of that. It’s a taster, a way for your audience to enter the world you’ve created via the sound of your voice. And because you – the author – are providing all the emphasis and tone of voice, listeners know they’re experiencing the world you created exactly the way you intended it.

They’ll even forgive you if you stammer, or mispronounce a word, or stumble halfway through a sentence and have to go back to the beginning. They’ll forgive you if the dog barks, or a siren wails, or your office chair squeaks … because you’re engaging with them, speaking to them.

Don’t get me wrong, it has to be listenable. If it’s such poor quality that the sirens, dogs, and stumbles are so frequent that the sample is painful to engage with, you’ll do yourself no favours. But a little blip here and there is fine.

Audio samples, like written ones, are gifts from you to your reader. They’re charming, and generous, and your fans will love the fact that you’ve taken the time to record one for them.

I asked my own marketing coaches and some of my colleagues what they use to upload audio to their websites. SoundCloud got an overwhelming thumbs-up. There’s a free option, too.

A YouTube video with a thumbnail picture would be another option. If you’re uploading natively to your website this could slow down load times so, instead, embed a link and host the content on your YouTube channel. In case your audience clicks through to YouTube, make sure you include all the relevant book-buy links under the video on your channel. Be sure to include captions for those who choose to engage with the sound muted (it happens … a lot!).

You don’t need an expensive mic either. I have a Blue Snowball, which works brilliantly, looks charming, and came in at under fifty quid. I chose it because I wanted something decent that would allow me to create video without being encumbered with a headset. However, if you’re just doing audio, you can probably get away with a headset/mic system for under £25. Try different options and see what gives the best results.

2. Giveaways – usable audio content
For non-fiction, you could take the audio sample to the next level. Give away an audio version of one chapter of valuable, usable content – something your listener can actually solve a problem with.

This is a powerful offering and goes well beyond the plot taster of a novel.

For example, imagine you’ve self-published a marketing book for small businesses. One of the chapters is dedicated to Pay Per Click (PPC). The chapter outlines the principles behind PPC advertising, and offers guidance on which businesses would or wouldn’t benefit from this strategy, and why.

You create an audio version of this chapter – and because it’s something that your target audience can listen to and use to make informed decisions about an aspect of their digital promotion strategy, they’re compelled to buy the written version and extract all your words of wisdom!
​
In this case, you’ve repurposed valuable business content but in a deeply personalized way. 

3. Host a live sound event
Readers love live author events. The Norwich branch of Waterstones has hosted a stack of live author readings. I’ve been to see Garth Nix, Jonathon Pinnock, and Alison Moore.

With an audio-only version, you’re recreating the feel of a radio author event because the audience gets to talk to you afterwards and ask questions. Ideally, you’ll want the stream to be recorded so that it’s available as archive content afterwards.

Daniel J Lewis, in ‘New live streaming options for podcasters’, says, ‘Maybe you want all the interaction and accountability of live-streaming, but you don't have the technology or bravery for video. That's when an audio-only live stream can be a great choice. It also makes a good option for those with lower bandwidth.’

So what are the options?

Mixlr and Spreaker are Lewis’s recommendations for those looking for lower-cost solutions.

Another option is using the audio-only option of Facebook Live. This has slightly less flexibility in that all the engagement with your listeners will take place in the comments below. Still, this could have some advantages in that you have a record of what people are asking, and if you don’t have time to handle all the questions, you can join in the written discussion later.

Live audio streaming is public and, obviously, live. You don’t get to edit if things go wrong … which is great because it adds emotion and excitement to the event, but requires a little courage. Make sure you have some friends in on the gig who have your back if you’re new to this type of engagement.
 
One of the best things about reader-facing author events is that fans can get a signed copy of the book. In the digital world, this is tricky.
​
How about this as an alternative? Get some promo postcards printed; the front will feature your book’s cover. At the end of the show, invite people to email you with their postal addresses if they’d like to receive a signed postcard with a personal message or dedication. You could team this up with an invitation to join your mailing list so that they don’t miss out on future events.

4. Broadcast an interview
This requires more effort but it’s worth it because it allows you to talk about the journey of your book and your journey as a writer.

You’ll need an interviewer and a script.

It’s tempting for the inexperienced sound eventer to think that a script will detract from the flow and authenticity of the broadcast. It won’t. A script ensures everything stays on track, that the questions and answers are remembered, that neither of you ramble off on a tangent or fall off a pregnantly paused cliff.

You could do a swap with a fellow author, perhaps someone from your writing group – you interview them and they return the favour. That way you both get to promote your books and share your thoughts on the challenges and joys of writing and self-publishing.
​
Again, SoundCloud is a good option here (or YouTube).

5. Audio sign-up requests
In ‘9 ways to use audio’, digital marketer Steve Cartwright asks: ‘When your target audience clicks to get more information for your products and services, do you think it would make a difference if you were actually talking to them with your voice to explain what you have to offer?’

Most of you are probably already building your mailing list. Perhaps you include links at the end of your written books, blog articles and website book pages that encourage people to sign up to your newsletter. This is the perfect place to test whether you can increase your sign-rates by using your voice to ask your readers to join the party.

If you’re not building a mailing list, consider these wise words of experience from full-time, self-published crime writer Jeff Carson:

‘I have a newsletter email list. This is one of those things I heard people preaching but never did anything about. It took me four freaking books to finally put my email list in place. But I finally did, and that’s when I was finally able to write full time. It only took two days to write and publish a short story, which I give away on my blog as a thank-you if somebody signs up for the new-release newsletter. Now, when I have a new release, I launch the book to thousands of people, versus dropping it into a field of crickets.’

How about doing the same thing, but asking people to join that newsletter with your voice?

Other things to consider with audio

• If you fancy adding some animation to your audio, take a look at the Music Visualisation Video Creator.
• Don’t forget to include discount coupons and book-buy links under your audio stream, wherever you host it.
• Always include a call to action, so your listener knows exactly what you want them to do.
• Be available to your readers – let them know how they can contact you.

In this video tutorial, I show you how to set up automatic scheduling of your blog content to subscribers via MailChimp.

MailChimp frequently updates its settings. If you find this video no longer works for you, feel free to give me a nudge so I can create a revised tutorial.

If you prefer to read the instructions, here they are:

Assumptions

• You have an existing MailChimp account (you can use MailChimp for free if you have fewer than 2,000 subscribers).
• You’ve created a sign-up form on your website to encourage blog subscription.
• That subscription list is managed via your MailChimp account.

Step 1 (as of December 2017)

• Login and select Campaigns from the dashboard.
• Click Create Campaign.

Step 2

• Select Create an Email.

Step 3

• Select Automated.
• Click on Share blog updates.

Step 4

• Give your auto-delivery campaign a name.
• Choose the subscription list you’ll deliver to.
• Select Begin.

Step 5

• Find your RSS feed (try pasting the URL of your blog first. This will usually enable MailChimp to locate the feed).
• If that fails, add the your blog feed icon to your website. Publish your site, click on the icon and copy the feed address in the browser window.
• If that doesn’t work, try clicking somewhere on your blog page and selecting View Page Source. Search for RSS. The feed URL is found between the quotes after href=.

Step 6

• Enter the blog-feed URL.
• Select your delivery options.

Step 7

• Tell MailChimp whom you’ll be delivering to (probably Entire List).
• In the next window, you can leave most of the boxes as they are, though consider checking the personalization box and amending the From Name text to your name.

Step 8

• Now select a template. I use Basic: 1 column so that there’s less to delete when I set up the feed.

Step 9

• Amend the template.
• Click on and delete the preset elements.
• Drag and drop in RSS Items.

Step 10

• Amend the style to determine what readers see.

Step 11

• Preview your feed then select Start RSS.

That's it! You're done!

​In this series, I’ll show you several ways to use a chatbot to engage with your readers, expand your fan base and put a smile on people’s faces! Today, the focus is on building a bot campaign to market a book on Facebook.

Bots are still a massively underused tool so incorporating them into your book-promotion strategy now will help you to stand out. 

This post featured in Joel Friedlander's Carnival of the Indies #86

What’s a chatbot?
In short, a chatbot is a computer program that simulates human conversation. I built my own chatbot in August 2017.

Yes, it's a computer program but it's helping me digitally with my business so I wanted it to have a face and a name that I could work into my chatbot marketing campaigns.

I called it Lulu and asked my friend, illustrator Rachel Holmes, to create the design. I think she did a great job of putting the art into artificial intelligence ... this is what Lulu looks like! Cute, isn’t she?

Here are a few things you should know about the chatbot tools I’ll show you:

• They’re versatile – allowing conversation, navigation, delivery and engagement
• No programming or coding knowledge is required
• Forget Tay – you retain complete control over the interaction
• They’re tons of fun!

Building your bot
My preferred bot-building platform is ManyChat. It’s straightforward to navigate and I appreciate being able to run four simultaneous live campaigns free of charge. 

There are restrictions with the free version – for example, you can’t automatically transfer subscribers to your mailing list – but you can still do a huge amount without spending a bean.

In this article I’m focusing on how to use the Facebook comments growth tool for book marketing. To follow my lead you'll need to have set up your own ManyChat account and linked it to your Facebook Page.

The ManyChat Facebook comments campaign 
Where to find it: Growth tools > New growth tool > Other growth tools > Facebook comments.

Potential goals: Pre-launch promotion, fan-base engagement, mailing-list growth, sample-chapter delivery, conversation, landing-page link, and bookstore pre-order.

Here’s an image of the fake book I've knocked up for demonstration purposes. In my sample promotion campaign, I’m offering fans the opportunity to enter a free draw. The winner will have their name assigned to a key supporting character.

​Let's see how we can use a chatbot and a Facebook Page to deliver this campaign and achieve the goals outlined above.
​
The strategy
Here's how it works. Facebook wants to keep people on Facebook – the longer people stick around, the more likely they are to click on paid ads. And if advertisers generate leads with their ads, they’re likely to buy more. That means more money for Facebook.

Facebook also wants to provide a good user experience because that will encourage more people use the platform.

Users who are having a good time will feel informed, engaged, entertained and helped. Facebook's algorithm identifies content that ticks those boxes and prioritizes it. Key indicators are likes, shares, comments and time spent engaging with a post (e.g. when watching a video).

The more engagement you create on a Page post, the more Facebook will reward you for your neighbourly behaviour by pushing your content beyond your existing community (friends, followers and likers).

Comments are the powerhouse behind this campaign tool.

A great way to generate a comment is to offer something in return. I've given away free ebooklets and checklists that help writers with self-editing, and fellow editors and proofreaders with professional development.

If you promote your book on Facebook by posting a nice piccy and a link to your website where there’s, say, a free sample chapter, you’re pushing people off Facebook. But if you offer that same sample right there on Facebook, you’re keeping your visitors on Facebook’s land. And so you’ll be rewarded with increased audience reach. 

ManyChat’s Facebook comments growth tool allows you to do exactly this: a trigger word in the comments tells your bot to deliver your freebie to the commenter via Facebook Messenger. Your fan doesn't have to leave the platform to get the goodies.

The offer – ideas for you to steal
Your offer must be strong enough to compel someone to comment. Here are some ideas for you to try:

• entry into a free draw for the commenter’s name to be assigned to a character in the book (this is the offer I've chosen for the sample campaign in this article)
• free ebook (a short story, novella or other book you’ve published)
• sample chapter
• discount voucher/code
• invitation to a book signing/reading

The build
There are two core elements to the build – the onboard ManyChat tool and the Facebook post. 

1. ManyChat
I recommend starting with ManyChat. Here's how to create a campaign:

• Set up your campaign: Growth tools > New growth tool > Other growth tools > Facebook comments.
• Give you campaign a name. Scroll down the page and enter the trigger word you'll be instructing your commenters to writer on your Facebook post (it’s not case sensitive).
• Save and click on Next.

• Now you're in the Auto-response pane. This is where you create the first message that your commenter will receive in Messenger. It’s effectively where they subscribe so it’s important to tell them how they can opt out if they so wish. For the purposes of this campaign, the list of names that the bot collects will be those who are entered into the draw.
• The image below shows the message I created for my mock campaign. To prevent spamming, ManyChat requires that the person carries out another action to opt in. I ask them to type SEND.
• Use the person icon in the black box in the bottom-right-hand corner to personalize the greeting in your message.
• Save, scroll down and select Next again.

• Now you're in the Opt-in Actions pane. This is where you can start to be creative. When creating your message, think about your goals; then add buttons, links, and supporting images to help your customer get what you're offering.
• First, ensure that the middle button is checked in the Sending Options list.
• Then click Edit.

• Now you can create another personalized message and add images, videos, audio, files and buttons. So, if, for example, you were giving away a free sample chapter or ebook, you'd click on the File (paperclip) icon and upload your PDF.

• ​​For demonstration purposes I've kept things simple: an image and a message that tells people when the draw will take place.
• I've also elected to create two buttons: one to allow the commenter to have a real conversation with me on Messenger, and one linking to my book's Amazon pre-order sales page.
• To create the direct conversation button, click on New Button #1. 

• Customize the button text.

• Now use the scrollbar to move down the page. Select Action.

• Select Open Conversation from the menu, and click on Done.

• To create a button with a link to your website (or, as I’ve done here, to the book’s pre-order page on Amazon) click on +Add Button.
• Amend your button text and click on Open website.

• Add the URL and click on Done.

• Now test your setup using the Preview button. You’ll receive a message in Messenger that mimics what your visitor will receive.
• If everything’s working properly, select Publish. 

2. Facebook Page
Now go to your Facebook Page. Create a new post that tells your audience about your promotion and the trigger word they need to write in the comments to get the offer. Including a picture or native video is also a great way to draw attention to your post.

Here's a mock-up design of my sample campaign.

• Publish your post.
• Now head back to ManyChat. Select Growth Tools and click on your campaign.

• Now you need to link the two elements of the build.
• Click the blue Select A Post button

• A window will appear with the Facebook posts available for linking to. If your campaign post is the most recent content on your Page, it'll appear at the top, but scroll down if necessary.
• Select your post; it’ll link to the chatbot build.
• Click the checkbox followed by the blue Save button.
• Now shift the button from Draft to Active. 

• A green button will appear saying Widget Activated. And that’s it – your campaign is live! 

Goal achievement
The mock-up I’ve created here is just the tip of the iceberg. You can be far more adventurous if you wish – it all depends on where you want to direct your visitors, the kind of conversation you want to have, and how many levels you add to the messaging sequence. Here are two more ideas:

• Create a button that enables people to sign up to your author newsletter or mailing list (using the same steps that I illustrated for the Amazon link). That way you can build your audience on your own land as well as Facebook’s while still using the free version of ManyChat.
• Add a short video thanking your commenters for engaging with you.

Here are some additional tactics to consider:

• To build your network, friend the Facebook commenters and ask them to like your Page.
• Say thank-you to each Facebook post commenter – it shows you’re engaged with your campaign and the people who’ve shown interest.
• Use Twitter, LinkedIn, Instagram, Snapchat and your writer Facebook groups to tell your followers about the fun that’s going on over at your Page.
• When you receive email notifications from Messenger that someone’s responded to your campaign, click through to your Facebook Messenger inbox. Sometimes the bot will glitch. Don’t worry – it’s an opportunity to have a direct conversation. You’ve made people smile and they’ll forgive a technical problem if you acknowledge it. I’ve created a gif that I send manually when there’s a fault!

Summary
ManyChat’s Facebook comments growth tool is a fun, friendly and effective way to build Page awareness, increase organic reach beyond your existing Facebook community, and generate excitement about your book.

In future articles in this series, I’ll walk you through how to use a chatbot to build your mailing list, help people navigate their way around your website, and take action on a landing page. I’ll also delve deeper into how you might use these tools creatively to build your fanbase and get people talking about your books.

Until then, it’s goodbye from me and Lulu!

P.S. From 1–24 December, Lulu and I will be having a little festive fun on my own Facebook Page. Do drop in to see what’s going on!

Louise Harnby is a fiction copyeditor and proofreader. She curates The Proofreader's Parlour and is the author of several books on business planning and marketing for editors and proofreaders.

Visit her business website at Louise Harnby | Proofreader & Copyeditor, say hello on Twitter at @LouiseHarnby, or connect via Facebook and LinkedIn.

If you're an author, you might like to visit Louise’s Writing Library to access her latest self-publishing resources, all of which are free and available instantly.